Due to a cancellation at short notice, members of the exhibitions committee and hanging team put together an exhibition to fill the gallery. The show then had to close because of lockdown. So to start the new run of exhibitions for the post lockdown season we’ve brought it back.
Artists exhibiting: Lesley Barker, Martin Bradshaw, John Cole, Ben Fairlight Edwards, Kathleen Fox, Heinz Michael Kalkbrenner, Ian O’Leary, John Plummer, Nancy Sharpe, Branka Vrhovski-Stanton and Jo Welsh.
Note: Due to the situation regarding the global pandemic of COVID-19 we won’t be holding an open evening for this exhibition. Apart from that it’s business as usual.
Susan Miller, Christine Forbes, Lucy Marks and Jan Irvine are four professional artists keen to explode the myth that watercolours are for amateurs. This exhibition showcases the diversity of this overlooked medium.
We welcome back David Reeve for a show of new work. David Reeve’s paintings have evolved through observation of the ‘real’ world. They are about ideas linked by common values including colour and design. Ideas evolve during the act of making.
John Roberts, Ken Gallagher and Emma Pegg were brought together through studio sharing and teaching in London.
The etchings and engravings here are produced from hand working on steel and copper sheets. The images are products of drawn mark and correction interlinking abstraction, figuration and large in scale.
For sixty five years Charlotte Jennings has pursued her love of colour and light, responding to her experience of nature and the sea in both England and Australia.
She brings us the heat and the harsh light that is Australia, and then the bright colours in subtle patterns inspired by oil spilled on the water of Newhaven Harbour, her current home. She shares the pleasures she finds in these contrasting scenes.
In Possessing the Past, Alexander Johnson re-visits the black and white photographs that document the lives of his family up to 1970. His large format paintings capture the power that the tiny originals hold in his memory.
For the past 20 years, Neil Ashton has worked almost exclusively as a printmaker. His exhibition Mirror Image celebrates the everyday, commonplace things we all look at but do not really see. He researches to create images which tell a story.
Tam Giles’ sculptural forms, colour-field painting, drawings and serigraph prints explore the irrational balance between two and three dimensions. She is inspired by curious analogies of the environment: the lyricism of systems in nature, the poetry in mathematical structures and organic fusions of colour, structure, space and time. Her career spans seven decades and coincides with an expansive period in art. She has distilled a range of significant art movements such as Geometric Abstraction, Constructivism and Minimalism.
Harriet Macaree’s paintings track a Londoner’s journey in time and place, through ten years in Mexico, seven in Nice, and a sudden landing in Hastings.
They are also about how memory ignites strong feelings and images from the past, the brain’s camera insistently spilling the contents of its hard drive into what feel like huge photographs, emotive composites one could never frame and snap in the real world.
Lines is Brendan Commane’s response to a visit to India. Inspired by three words, Earth, Sacred and Fabric, it explores how closely we are connected to each other, the earth and the fabric that makes up our identity.
“My exhibition is about connections, the traces and marks we make and leave from the past, present and an unknown future.”
Tryphonos’ works in different media are all emotional snapshots of a set point in time. The artworks are raw and uncompromising. They defy narrative and command a visceral reaction.
“The most important aspect of my work is not to feel constrained by medium or style, or to belong to a particular school of artistry. I want all of my pieces to be emotional snapshots of a set point in time and rarely revisit or make amendments to them so that they remain raw and uncompromising. For these reasons I am able to retrospectively view pieces as an outsider and this liberates me from applying rigid meanings or influences to my creations.”